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29 Cards in this Set
- Front
- Back
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Frankenstein- Thesis |
The power of nature as both a means of terror and sublimity was a constant source of fascination to the Romantics
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Frankenstein- Context
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Percy Bysshe Shelley- Romantic writings reflected more the 'spirit than the age'
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Frankenstein- 1 |
"Emotions of gentleness and pleasure" which "long appeared dead, revive within me"- language of resurrection delineates the transformative power of nature to bestow life |
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Frankenstein- 2 |
Contrasts with creatures reaction upon meeting man- "gnashing teeth" and "hellish rage"- satanic imagery- unable to find coherence within society because of the circumstance of his birth |
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Frankenstein-3 |
Harmony possible between nature and man delineated through the character of Clerval, whose mind "formed a world, whose existence depended on the life of it's creator"- manifests his unity between God and nature into his character- contrasts with Victor who creates in opposition of nature and God |
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Frankenstein- 4 |
Accumulation of "no guilt, no grief, no mischief, no malignity, no misery can be found comparable to mine"- delineates the effect founded through the action of defying the natural order- contrasts with his past self that was occupied with "sublime and transcendental visions" |
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Kubla Khan- Thesis |
The consequences of man defying nature in an attempt to control the power of the sublime are significant as nature as a unified force can be utilised to turn against an individual |
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Kubla Khan- Context |
Baudelaire- humanity must ascribe to a "way of feeling" rather than an "absolute truth" |
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Kubla Khan- 1 |
Juxtaposition of the persona and poet's creation of "stately pleasure dome" to the wild imagery and alliteration of "caverns measureless to man"- foreshadows the inability of man to control nature |
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Kubla Khan- 2 |
Alliteration links to "dome decree", where Coleridge implicitly delineates the difference between the capacity of man and that of nature- critical of the claim of the industrial revolution to match the feats of nature with that of man |
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Kubla Khan- 3 |
Mans attempt to quantify nature with "Twice five miles of fertile ground" is demonstrated as laughable with the use of the metaphor of "girdled round"- futile |
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Kubla Khan-4 |
Gothic imagery of "haunted by a woman wailing for her demon lover" personifies nature in the supernatural, possibility of the savage to manifest in nature |
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Kubla Khan- 5 |
Shift to first person and the use of the metaphor "built in air" reveal that it is a construct of the poet's imagination |
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Kubla Khan- 6 |
Utopia of the imagination expressed as a flimsy illusion, imitation of the truth of nature- Khan's immersion in such demonstrated in mythological allusion of "flashing eyes and floating hair" |
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Rime of the Ancient Mariner- Thesis |
By seizing the role of God, an individual disrupts the pantheistic whole of the sublime |
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Rime of the Ancient Mariner- Context |
Burke- "Whoever undertakes to set himself up as judge of Truth and Knowledge is shipwrecked by the laughter of the Gods"
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Rime of the Ancient Mariner-1 |
Alliterative phrase- "killed the bird which made the breeze to blow"- foreshadows the consequence of disrupting the natural order |
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Rime of the Ancient Mariner- 2 |
Repetition of "water, water, everywhere" emphasises the irony of there being "not a drop to drink" |
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Rime of the Ancient Mariner-3 |
Magnitude of actions realised in his experience of "woful agony" for until his "ghastly tale is told, the heart within me burns"- biblical reference to hell explicates the extent of his sin |
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Auguries of Innocence- Thesis |
Cautions against the predispositions of human nature to be destructive, advocates instead for contributing to the holistic being that is nature and the sublime |
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Auguries of Innocence- Context |
Ideal of the "vital motion of harmony and contrast" of Schegel between man and nature |
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Auguries of Innocence- 1 |
Quatrain "To see the world in a grain of sand, and Heaven in a wild flower, hold infinity in the palm of your hand, and Eternity in an hour"- repetitious use of biblical imagery explicates the Romantic emphasis placed upon the experience of the child to be able to perceive the extent of nature and become one with it |
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Auguries of Innocence- 2 |
Consequence of human nature, as a series of rhyming couplets lecture on morality- "A horse maltreated on the road/cries to Heaven for human blood"- animalistic motif becomes symbolic in man's attempts to domesticate nature, use of biblical language explicates the possibility for divine retribution as an individual opposes nature |
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Auguries of Innocence- 3 |
"Every night and Every Morn/some to misery are born"- use of anaphora emphasises the sense of unity and balance that arises from connection with the sublime, in the balance of "joy and woe" that create "clothing for the soul divine" |
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Ode to a Grecian Urn- Thesis |
Transcendental nature of the sublime found within art allows the persona to move between the mundane and immortality |
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Ode to a Grecian Urn-1 |
Motif of silence, as "unravished bride of quietness" and "foster-child of silence and time" ground the otherwordly figures in a recognisable literary conception of the human experience- silence cancels their personhood, more pure |
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Ode to a Grecian Urn- 2 |
Each of these figures are frozen in moments of growth, such as the "bold lovers" who "never canst thou kiss"- with the use of language of movement in "bold" revealing the tragedy of these figures and their inability to move in order to gain what they truly desire |
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Ode to a Grecian Urn- 3 |
In contrast the human experience is expressed in high modality terms of "burning forehead and parching tongue" |
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Ode to a Grecian Urn-4 |
"Beauty is truth and truth beauty"- true value of art found in the contemplation of it rather than involvement within it |
